Urban landscapes have this proposition that if they are shot evocatively, whenever the product is displayed either on the silver screen or on the television an image of fond memories is created in a hue that is like the rainbow. Binod Pradhan as a cinematographer has done this consistently through out his career, and with DELHI-6 he is going to scale new frontiers, as it would be probably for the first time that Delhi would be shot in six different hues that the city experiences in a year.

With such a big reference of time span, it would therefore be for the first time that a city (Delhi) would be captured in as diversified hues and in as myriad landscapes as possible. The mandate for Binod Pradhan is to capture the hues of Delhi in DELHI-6 as an exercise in down memory lane, as the different seasons of Delhi in DELHI-6 are going to be revealed to the public through the eyes of Abhishek Bachchan.

Competence of Binod Pradhan in being able to do so appears to be a distinct reality as through his past oeuvre he has demonstrated the same. NANHE JAISALMER became a public relations exercise about the magic that the dunes of sand create, so did the city of New York through TARA RUM PUM PUM.

For Binod Pradhan shooting DELHI-6 would be the continuum from where he left off in RANG DE BASANTI and the landscapes of RGB are amply demonstrative about the fact that he has indeed the eyes for details. He was able to mix the nuances of dhabas, with the mustard fields, juxtaposing it against the backdrop of old forts, havelis and the icing of the cake being the aircrafts hovering over the landscape. It was also through the way in which he captured the poignancy around India Gate, that post- RGB; India Gate emerged as the favored location for social protests, Jessica Lal murder case being the most celebrated example.

If one moves the references a bit backward in case of Pradhan, Himachal Pradesh with its mystique of the monasteries, or the old English buildings, having corrugated roof sheets, painted in bright hues enlivening the screen, either through the sheets of rain, or through the whiteness of snow, was captured with love in 1942: A LOVE STORY and in KAREEB. It happened in the case of Kashmir with MISSION KASHMIR.

If one talks about the cinematographic capturing of the Mecca of films, Mumbai here also Binod Pradhan created new frontiers with his films like PARINDA and MUNNA BHAI MBBS, both bringing to distinct relief the by-lanes of Mumbai, where the pulsating life of Mumbai unfolds on a daily basis.

With such a rich repertoire, it would indeed be a tribute to the vastness of Delhi, when DELHI-6 releases and it indeed is an opportune time. With Common Wealth Games in Delhi, just round the corner, DELHI-6 could turn out to be a channel vehicle to promote Delhi for the country and outside.